We show you that if you put enough effort into the musical arrangement and get the editing out of the way at the start, the mix itself isn't that difficult!
The first of the two main chorus rhythm-guitar parts, without any processing.
This part was comprehensively sliced up to tighten its timing against the drums parts, and then processed with Cubase 4's internal compression and EQ. (For this file I've switched off the mix send effects.)
The second of the two main chorus rhythm-guitar parts, without any processing.
This part was also edited to improve its timing, and was compressed and EQ'd with Cubase 4's internal processing, although less heavily than the other part. (For this file I've switched off the mix send effects.)
Here is the combined sound of the two chorus rhythm-guitar parts, together with a simple ping-pong patch I used to even up the stereo field a little.
Here are the two simple powerchord guitar parts I recorded through Line 6 Gearbox to make the overall sound in the choruses a bit fuller.
This melodic guitar part also appears in the chorus -- here's what it was like before I started work.
By copying and pasting different bits of the raw file, I was able to conjure up a double-track part for this melodic line, so that the sound could then be spread across the stereo picture a bit. Some EQ and compression were then applied to fit the track in with the other parts, as well as a very simple half-note delay send effect.
Unusually for Mix Rescue, Richard's bass recording was very light on the low frequencies.
Some judicious low-end EQ helped beef the sound up a bit, but there was only so far I could take this, because the lowest harmonics I wanted were simply not there to boost.
This simple subbass synth line helped to provide a bit more low-end weight to the bass sound when mixed in fairly subtly underneath.
Here is the bass sound as it appears in the final mix, combining the bass-guitar and synth sub-bass layers.
Richard's original mix.
My remix from Richard's original multitrack files.